PPT-The sound–film paradigm: BAZIN AND TARKOVSKY

PHL 317K Fall 2017 BACKGROUND ON BAZIN He was neither an academic nor a philosopher but he is regarded as one of the most important and influential figures in the short history of film theory He wrote The Ontology of the Photographic Image at the age of 26 and published more than 2500 pieces throughout his career before dying of . PROFESSOR SHELDON SCHIFFER. MAYMESTER VERSION. 
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. Office hours: 4:30 PM – 5:30 PM . Daily. Office. :. 25 Park . Place South – Room . 1023. phone. : 404-413-. 5623. email. : schiffer@gsu.. Introduction: Sound and the Study of Sound. What is sound?. What is sound?. What is sound?. What are the differences between hearing and vision?. What is sound?. What are the differences between hearing and vision?. Chapters 3 and 4 . A scene is a section of narrative that gives the impression of continuous action taking place in a continuous time and place . A shot is an uninterrupted strip of exposed motion-picture film or video that represents a subject during an uninterrupted segment of time . 4. Film Music. TWO PERSPECTIVES & PERIODS:. Unheard Melodies: Narrative Film Music . by Claudia . Gorbman. (published in 1987). Hearing Film: Tracking Identifications in Contemporary Film Music. 2. Silent . Film Sound. Professor in Cinema and Comparative literature at University of Iowa. Also written books on the musical film genre, and edited a book on sound theory and practice that we will read from later this semester.. Sound. Though we might think. of film as an essentially visual experience, we really cannot afford to underestimate the importance of film sound. A meaningful sound track is often as complicated as the . By Hayden Collins 13p1. Brief History . Before the 1930s, film often used compiled tracks and other pieces of music from famous composers in order to accompany the film that was being showed on the screen. The music that went alongside film at this time was live (performed under the screen), and only near the end of the 30’s did film makers produce their own scores.. By Hayden Collins 13p1. Brief History . Before the 1930s, film often used compiled tracks and other pieces of music from famous composers in order to accompany the film that was being showed on the screen. The music that went alongside film at this time was live (performed under the screen), and only near the end of the 30’s did film makers produce their own scores.. 5. Filmic Sound Spaces. Sound Theory Sound Practice. Edited by Rick Altman (1992). With essays by James . Lastra. , Michel . Chion. , and others. The Soundscape of Modernity: Architectural Acoustics and The Culture of Listening in America, 1900-1933 . (1894-5) Dir. William Dickson and Thomas . Edison. Broken Blossoms. (1919) Dir. D.W. . Griffith. Old San Francisco. (1927) Dir. Alan Crosland.  . Bonus scene: . Singin. ’ in The Rain. (1951) Dir. Gene Kelly and Stanley . Silent Era. Sound and synchronization started in 1923 so all films before this were silent with accompanied orchestras.. 1920-1930 America was the leading producer of film. . “The Sprinkler Who Sprinkled”- The First Comedy. BAZIN AND TARKOVSKY. PHL 317K. Spring 2018. CLASSICAL FILM THEORY. 1898 – . 1948. Sergei . Eisenstein . Rudolf . Arnheim. 1904 – . 2007. 1918 – . 1958. Andrei . Bazin. Andrei . Tarkovsky. 1932 . A scene is a section of narrative that gives the impression of continuous action taking place in a continuous time and place . A shot is an uninterrupted strip of exposed motion-picture film or video that represents a subject during an uninterrupted segment of time . COMPONENT 1A: HOLLYWOOD 1930-1990 (VERTIGO & ONE FLEW OVER THE CUCKOO’S NEST). COMPONENT 1B: HOLLYWOOD AFTER 2005 (INCEPTION & FRANCES HA). COMPONENT 1C: BRITISH FILM AFTER 1995 (TRAINSPOTTING & THIS IS ENGLAND).